#studio 42 Art Works

[studio42artworks]

The forest gives, Gaia gives. It is in the green to find your peace. Such lush places whisper to those with ears.

#Studio 42 Art Works #water

[lunarfleur]

Sure! I don't mind requesting something new! So you write somewhere in your works how Miles 42 and reader met through location, "whether it be going to the same school or living in the same building or whatever"

I wanna' see a fanfic in Miles pov how he and reader met and how their relationship developed throughout the process! I wanna' know if he's going to make a move in interacting with reader or such. :))

Mr. Tambourine Man ~ Earth 42! Miles Morales

A/N: Many people will tell you this song is about a drug dealer. I, however, have always taken Mr. Tambourine Man as an analogy for youth. Take this as you will.

Tagging: @juneberrie @sluggmuffin @hiyaitssans @nagi3seastorm @luvjunie @milesmolasses @n1cole-ghost @kombuuuu

This is x fem! Reader

Hey, Mr. Tambourine Man, play a song for me.

I'm not sleepy and there is no place I'm going to

Growing up, Miles had always been the dull kid in the corner of the classroom. It was his nature.

He didn’t really remember his dad’s death, but there was always a sort of emptiness in the Morales apartment that never got filled. The emptiness has always been there, in his home and in his mother.

Hey, Mr. Tambourine Man, play a song for me

In the jingle jangle morning I'll come following you

On the late nights, he hears his mother sitting in the living room all by herself lonesome. She sits on the couch, in the same spot she has been all these years; next to the spot his father would have taken up.

He can imagine it: his mother curled up under a blanket, her husband’s arm resting over her shoulders. He’d kiss her head and the spot behind her ear. She’d pretend to pay no mind and act as if he doesn’t still make her giddy like he did back when they were young.

Though I know that evening's empire has returned into sand, vanished from my hand.

Left me blindly here to stand, but still not sleeping.

But his father was not there. The late Jeff Morales did not get to stay up with his wife, watching the television as their child sleeps. He was dead, but it sometimes felt like his ghost was haunting the city. He’s gone, but it’s like he’s still there.

As he grew up, Miles did not get the joy his classmates did. He watched his mother work like a dog to support the two of them. He spent many nights alone, waiting for her to come home.

It was sad. Miles was sad.

My weariness amazes me, I'm branded on my feet.

I have no one to meet, and the ancient empty street's too dead for dreaming.

So here he sits, in the corner of his studio art class, his last period of the day. Miles is behind an easel, dried paint covering his hands and table. There was music playing in his headphones, but he wasn’t really listening. It was to block out the other noises.

The door opens, and in walks a girl he’s never seen. It was an odd feeling, at first, a shred of nervousness he didn’t quite understand.

He looked around the room, at all the other students and seats, only to realize the one next to him was the only one open. Perfect.

She talks to the teacher, nothing he can hear, snd watches as she slowly makes her way over to the spot next to him. Miles turns away, picking up his paint brush to avoid and other contact.

Hey, Mr. Tambourine Man, play a song for me.

I'm not sleepy and there is no place I'm going to.

Hey, Mr. Tambourine Man, play a song for me.

In the jingle jangle morning I'll come following you.

Unfortunately for him, Miles looks unapproachable. He looks like he should be friendly and open. He’s got those big, brown, shiny doe eyes and dimples. His face is dusted with freckles. His lips are big and plush. His nose sits perfectly in the center of his face, blending together nicely with every other feature.

However, people avoid him. He’s quiet and keeps to himself. Miles is sort of a mystery, someone people don’t know much about. He’s got eye bags and an RBF, so people leave him alone. Sometimes it seems as if he’s invisible.

Take me on a trip upon your magic swirling ship.

My senses have been stripped.

The girl sits down, taking out her supplies as she was most likely directed. Tense hands moved shakily. Her breaths were harsh. Her eyebrows furrowed tightly against her forehead. She was nervous.

With a skip of his heart, Miles clears his throat. Her head snaps over quickly, eyes wide with anxiety as he stared her down.

My hands can't feel to grip.

My toes too numb to step.

“Uh..I’m Miles.”

She hesitates, biting the inside of her cheek before nodding.

“Y/N.”

Miles doesn’t look away. Y/N peeks over at his canvas. Her lips curve down into a smile, any trace of her previous fear gone. Her lips pressed together tightly, eyebrows raising. No tension, no anxiety.

“You’re really talented.”

“…Thanks.”

Her smile did not falter. She looked at him for a moment, and that one moment felt like an eternity.

Her nose, cheeks, and lips were a blend of heaven sitting on her face. Her hair was smooth and clean. Miles swore her eyes looked like stars.

Y/N was definitely beautiful.

Wait only for my boot heels to be wandering.

I'm ready to go anywhere, I'm ready for to fade into my own parade.

Cast your dancing spell my way, I promise to go under it.

“What, uh,” Miles spoke again, “what class was you coming from?”

He watched as Y/N fumbled with her schedule, a blue piece of paper crumpling in her hands.

“I have Spanish II, but I was in the office.”

Miles nodded, a small simper forming across his lips.

“I’m in there, too.”

Y/N grinned at him, eyes squinting slightly. It was almost bright.

Though you might hear laughing, spinning, swinging madly across the sun, it's not aimed at anyone.

It's just escaping on the run.

“I’ll walk with you, tomorrow?”

It came out as a question, and Miles would be lying if he said that didn’t surprise him. There was a fuzzy, warm feeling in his stomach that, for a second, made him question if he was getting sick.

Y/N chuckled, a simple melody that sent flowers blooming across his skin. It felt like goosebumps, but much more intense. The sensation matched that of bathing in the sun.

“I’d like that.”

And but for the sky there are no fences facing.

And if you hear vague traces of skipping reels of rhyme to your tambourine in time

Y/N glanced over to a small group of kids sitting diagonally from them. They were watching intently, eyes wide with curiosity. As quickly as it came, Miles’s almost cheerful expression fell back into place. The corners of his lips dropped, so did his eyebrows. In less than a moment, he was tense once more.

It's just a ragged clown behind.

I wouldn't pay it any mind, it's just a shadow you're seeing that he's chasing.

They turned away awkwardly, returning to their projects. Y/N sucked in a breath. There was tension within her chest. It was a sudden, sharp sensation in his fingertips.

“So did you just move here?”

Y/N smiled, nodding.

“Yeah, from New Jersey.”

Miles nodded along intently.

“How come?”

“Family.”

Questions and answers came as the two packed up their things.

And take me disappearing through the smoke rings of my mind, down the foggy ruins of time

The loud and obnoxious bell rang, and every other student in the class shoved past one another to get out of the room.

Far past the frozen leaves, the haunted frightened trees.

They walked down the hallways together slowly. For the first time, he felt as if he could ask questions. For the first time, someone answered. She answered.

Out to the windy beach, far from the twisted reach of crazy sorrow.

“So, what’s Jersey like?”

“Well, it’s fun. The food is great.”

“Yeah?”

“Yeah.”

Miles snickered.

Yes, to dance beneath the diamond sky, with one hand waving free.

“Do you like New York?”

“I’m…adjusting.”

“Adjusting?”

“It’s easy to get lost, here.”

Smiling shyly, Y/N pressed her lips together firmly. Miles could almost feel the heat of embarrassment coming from off her face.

“You just need someone to show you around. It gets easy, after all while.”

Silhouetted by the sea, circled by the circus sands.

“What’s there to show?”

Miles smiled, looking at the girl next to him as they stepped down the front steps of Visions Academy.

“The sky.”

There was a sudden melancholy feeling that ran down Miles’s spine. It was the same feeling he’d felt on those late nights, waiting for his mother to come home.

Miles did not remember his dad’s death. He didn’t remember the funeral. He just remembered the day the apartment felt less like home.

With all memory and fate, driven deep beneath the waves, let me forget about today until tomorrow.

“It’s the same sky as the one in New Jersey.”

“Different view.”

Hey, Mr. Tambourine Man, play a song for me.

“You’ll show me?”

“Yeah. Yeah, I’ll show you.”

I'm not sleepy and there is no place I'm going to.

“Good.”

“I’ll show you my mural, too.”

“Mural?”

“For my dad.”

Hey, Mr. Tambourine Man, play a song for me.

Miles nodded, smiling. She nodded back, humming in reply.

Miles had always been so much like his father. The same smile, the same attitude, the same wit.

Y/N looked at Miles curiously, and Miles became painfully aware of that fact. Birds sung in his lungs and trees grew in his mind. Fresh air.

“Let’s go, Miles. I’m expecting a tour.”

In the jingle jangle morning I'll come following you.

#earth 42 miles morales x you #earth 42 miles x you #earth 42 miles fluff #earth 42 miles x reader #earth 42 miles morales #earth 42 miles morales x reader #atsv #spiderman across the spiderverse #across the spider verse #spiderman #miles morales #miles morales x reader

[8siangemini]

Poison

Picked Your Poison

(Earth 42 Miles x Black Cat!Reader)

Summary: You, Black Cat, scoffed, laughed, spatted on the government and the police force. It was pathetic and had nothing on you. But what will being forced into a partnership with someone with an opposite ideology do to yours?

Author’s Note: HEYYY POOKIESSS Here’s my new series coming up and tbh idk where it’s going so just give me some recommendations for scenarios down below or just message my inbox :) also for anyone who wants to be in the taglist js comment down below

“You want me to do what?” You appalled your father.

“I want you to partner up with someone.” Your father said again.

Something about your life as Black Cat was that you did not work with partners on the field. You did not want to feel like you were babysitting or watching after someone and their stupid slip ups. You did everything with grace and perfection.

“And who is that?” You stand up from your seat and cross your arms.

Just then from the shadows of the big empty library of your home emerged a man. Tall and thin with a bald head. He made his way by your father’s side. You looked at them confused and then pointed to the unknown man but his father shook his head.

“Nah not me. I’m the one that trained your partner.” The man explained.

“Not my partner.” You mumbled underneath your breath in aggression.

“They are actually here, right now.” Your father explains.

You already knew who it was. There was no one on the ground around you, there was no one else in the building, well until now. They’re on the ceiling, you knew only one vigilante who had this style of stealth and this level of skill as well as you. The Prowler.

You look up and see the Prowler hanging upside down with his feet planted on the ceiling with his arms crossed.

You and the Prowler’s style were so different. The Prowler emitted this sense of intimidation and forced justice but also a picture of new hope for Brooklyn. He’s the police force Brooklyn wished they had. But Black Cat made the government look pathetic by taking on big heists that made history, even at your young teenage career. Black Cat laughed at the police force and caused chaos in Brooklyn. Whatever Black Cat destroyed the Prowler tried to fix.

He detached from the ceiling and flipped and landed on his wet quietly. He stood up straight next to your side and stood taller than you. Something struck you.

“Wait if y’all know each other?” You ask your father and the unknown man. “Then does that mean you know our…” Your voice trailed.

Your father and the man nodded. You looked in shock and looked up at the Prowler. They knew your identities. Another person knows about your identity besides your father, and possibly the man standing next to you.

The mask stared at you and it soon began retracting. A face revealed, a face you knew damn well from school. The playboy of Visions Academy, Miles G. Morales. Underneath your silver metal chrome eye mask your eyes widened.

The infamous Miles Morales. The boy that has a new girl on his lips every week, living an alternate life. Every time your school’s morning announcements talked about the Prowler they were talking about him, the same boy in your studio art class.

All while Miles couldn’t take his eyes off of you. Your body in your tight black suit that was slightly unzipped at the neck showing your neck and part of your chest, utility straps on your thighs and legs, matching all with Panda Dunks. Your wide chrome masked covered your eyes as he saw himself through them like a mirror.

You then made your mask retracting and formed at the side of your temples.

And in the slightest way you see Miles jump in shock and his eyes widened. His eyes scanned up and down your body.

Miles was in shock, the girl he was just admiring her body is the same girl from his art class. He blushed slightly in embarrassment.

“Golden girl (Y/n) (L/n).” Miles comments as he puts his hands into his jacket. You then put your hands on your hips.

“Playboy Miles Morales.” You said with venom.

“You know him?” Your father asks.

“Yeah he goes to school with me.” You respond without breaking eye contact with Miles.

You and Miles’ glared at each other, trying to fight for dominance. Just then Miles finally broke gaze and looked at the adults. You chuckled to yourself.

“You two are going finally put the police in place.” Your father explained.

“You both know how fucked up the police force is.” Miles’ mentor pitched in.

“It’s pathetic-“

“It’s unjust-“

You’re shocked. You look at Miles and Miles’ head snaps towards you as well. Both of you looked at each other in confusion as well as shock. You knew of the Prowler’s ideal of vigilante and making the wrongs in the police force right by saving crime in the way he sees suit, but you didn’t see how passionate he was about it.

While you on the other hand laughed at the police force and government. You took the fucked up system and bent it for you to commit crimes without serving the time.

“We will have meetings regularly about your guys’ actions.” Your father explained. “But until we make our move, you two get acquainted with each other.”

The two men began walking towards the door. Once they were out the door the door closed with a loud thud. And like a switch you began building your boundaries.

“Ok listen here you fucking prick,” you quickly turn your body towards Miles with your arms crossed. Miles turned towards you too.

“Just cause you and me gon be working together doesn’t mean I’m gon be one of your lil girls aight? This thing,” you motion between you and Miles. “Don’t mean you gon get anything from me.”

Miles crosses his arms and steps closer with you with a smirk. You didn’t falter from your spot as you glared up at him with crossed arms.

“You know,” Miles brings his hand up to your chin. “It’s hot when you yell at me.”

“And I bet I ain’t the first one to.”

You snear at him and swat his hand harshly. Sadly it only made him smirk more and he gripped your wrist firmly as he tried to pull you in closer.

“Nahh you the first one to put me in my place.”

Miles face was so close to yours as he looked at your pissed off expression with a smirk. You were fuming, there was no way you could work with a guy like him. Your guys’ ideologies are so different. But you knew how you can push his buttons, push him to the edge.

A smirk came to your face as you stepped closer to him. His eyes widened slightly at the sudden closeness.

“And don’t expect this to be the last time.” You whisper against him.

Your chrome clawed glove dragged along his sharp jawline. Your hand falling down his next all while holding eye contact. His breath was stuck in his throat, he didn’t know how to reach. Miles never had a girl act so bold towards him. His body melted into your nail and into your hand.

Your hand fell down to his chest as you noticed his sudden ease. Your smirk fell off your face as you roughly planted your hand to his chest and pushed him away from you. His breath is pushed out of his lungs harshly at your sudden shove. He stumbles back a couple feet as you begin walking away from him with your back to him.

His eyes falling to the curve of your spine. He knew now that in the day you were miss perfect student. But in the night, you were dangerous, dangerous to society and to him.

“You’ve picked your poison, Morales.” You said bitterly.

#miles morales x reader #miles morales x y/n #spider man across the spider verse #spider man #spiderman #miles morales #across the spiderverse #into the spider verse #earth 42 miles morales #earth 42 miles morales x black cat!reader

[mybeingthere]

Joan Eardley was born in Sussex in 1921. A tragic childhood, with her father committing suicide when she was just nine years old, she moved with her Mother and sister, Patricia, to Blackheath, London in 1929.

Showing an early aptitude and enthusiasm for art, Joan attended the local art school in Blackheath, but soon won a position at the prestigious Goldsmiths College. Following a family move to Glasgow, Joan secured a place at the Glasgow School of Art in 1940, a move which was to significantly influence the course of her future life and art work. Here she was awarded the Sir James Guthrie prize for Portraiture.

Following spells away from Scotland after graduation, Joan returned and set up home and studio in Glasgow in 1949. Close to the tenements of Townhead, Joan began to paint the children from the “slum areas”. These are regarded as amongst the most powerful and prized of her life’s work; depicting the deprivation and yet humanity within the faces of the children.

In the early 1950s, Joan purchased a cottage at Catterline, a small coastal village close to Stonehaven. Here she began to experiment with both land and sea-scapes, working with paint to depict her surrounding world with a life and energy few had managed before.

Joan was made and associate member of the Royal Scottish Academy in 1955, and voted a full member in 1963. Sadly, it was in that same year Joan lost her battle with cancer and died, aged just 42.

[untoldsoup]

Just wanted to say that I love your Human Bowser comic! I specifically loved the colors chosen for pages 42-47! They’re so nice and satisfying it’s kinda hard to describe! What’s your thought process when choosing the colors for a particular scene if you don’t mind me asking?

I'm not sure if you want the emotional answer or technical so I'll just go with how I know how to answer art questions:

First I have a set color scheme for the flat colors. This doesn't change, but the coloring i do on top of that does. For example: human Bowser has set flat colors that have not changed since page one. But as I learned new techniques I changed the effects/mapping i add on top of it.

I learned a lot of different coloring techniques between pages one and the current pages. At first i was nervous to change how I colored the comic and I had a LOT of new things I wanted to try and was worried people would be upset at the drastic coloring change. But thankfully all the feedback has been positive.

After I do flat colors I then will choose various color gradient overlays that I feel suit the mood of the page/panel. I like to use a lot of dark-to-soft-light overlays to add depth to the base colors. I also sometimes add gradient mapping, which is a art technique where a set gradient is added on top that drastically changes the tones. I usually put this layer at a super low opacity so its just a hint of change.

For lighting I currently love added bursts of light where i can, and then softening the colors of the line layer to make it look like the light bleeds over. Some softer glowing effects also help with this.

A big change i also did since the beginning of the comic is I now soften the line layer and color layers to give it that 'dreamy' look.

For the emotional side of things, when I pick colors my attempt is to think of what color pallet fits the mood/environment. I'm still learning when it comes to coloring (it's a weak point of mine for sure) but everytime i think i learn something new that will help with a scene I'm doing I try it out now.

One of the biggest things I'm doing right now is watching a lot of youtube videos on comic storytelling/layout/coloring to really try my best to get better.

I have a obsessive disorder/condition so I often need to be doing something with my hands. Either gaming, cleaning, or drawing. So I currently draw 3-4 hours a day after work (while listening to music or youtube) to keep myself occupied or I get antsy. It's why I tend to look like i work 'fast'. I'm not really fast at drawing, but I draw every day, and certain scenes/characters are second nature now when drawing.

I still make a lot of mistakes and have a ton of weaknesses but I'm loving drawing this comic a lot so I'm doing my best to fill in my knowledge gaps as I go. Clip Studio also has a ton of amazing assets/tutorials that really help and I highly recommend the program, especially if you struggle with perspective.

I hope this answers your question and wasn't too long winded 😭

#asks #bowuigi

[rockanroller]

Insights Into "good" vs. "bad" Animation Rates & Why Animators Might Agree to Work for "low pay"

with the Discord screenshot going around from Spindlehorse Writer and Production Supervisor Adam Neylan revealing some rates they offer, i thought i'd give some insights into the complex topic of animation rates and animators as someone who has done animation work and had many a conversation with peers & mentors about what i should/shouldn't agree to when it comes to pay and productions.

to start with a general statement:

most of what i'm about to say can apply to any and all jobs. animation is not the only industry with low-paying jobs ppl still agree to work, and "currently, 30 states and Washington, D.C., have minimum wages above the federal minimum wage of $7.25 per hour." that means 20 states still only pay $7.25/hour for minimum wage which is not livable, of course jobs in those states may offer more.

i do not say that to downplay or forgive poor wages, only to show animation isn't an isolated case, but it doesn't make it any less awful. and the tricky thing with animation/art is there are more factors to consider than a simple yes or no answer.

and, for your consideration, these are the wages listed by the Animation Guild, they are shown mostly by hourly and weekly rates, and range from $35-$57 per hour, and mainly apply to big studios. you can see wages from specific Big Studios on this page. including Bento Box whose wage minimums ranged from $22-$42 per hour depending on the job as of July 7th, 2023.

any opinions expressed in this post are my own or summarized from others i've spoken with, they're subject to change in the future as i learn more. the goal of this post is to be informative.

"why would an animator agree to a job paying low wages?"

needing the money no matter how poorly it pays and/or having a hard time finding work in the current state of the industry

plain old artistic passion (((they love the work or the project so much they want to be a part of it even if it means low pay)))

they want/need to build their portfolio or resume

they've been recommended to do it by a friend or mentor

they know the crew/studio provide a good work environment despite their low pay

they feel they can get the job done fast enough for it to be worth the pay

they have something else supporting them financially (another job, their family/spouse/partner, etc.) so they can afford to work a side gig for pocket change or just for fun

being a friend of the creator OR anyone on the production, leading to a desire to help out even if it means they wont be paid much

they live in an area of the US or another country that has a lower cost of living (((i.e. if your rent is $3000/mo VS. if your rent is $1000/mo)))

they agreed with the job/rate the employer/client initially offered them, but the employer/client changes or adds onto the job once production starts (((sometimes this can be a situation known as "job creep" where you agree to do one job, but later they ask you to take on responsibilities or "small tasks" from other jobs while only paying you for the one job.)))

on that last bullet you may be thinking... "well they should just quit then, why wouldn't they?" here's some reasons why, some are the same as above:

needing the money/not being able to find another job so badly they find a way to do whatever is asked of them

same plain old artistic passion mentioned above (((they want to see it through/complete the task/complete the vision even if it means they might experience stress or burnout)))

they have something else supporting them financially so doing more/extra work isn't a huge hinderance

they have friends on the production they may not want to "abandon" or "let down" OR, alternatively, having friends on the production makes the work easier to stomach

despite the extra work/low pay the work environment is enjoyable for one reason or another (community, support, fun, etc.)

fearing it could ruin their reputation as a worker / burn bridges with their connections on the production / limit their ability to get another job with the same studio or other studios later on

fearing saying "no" might breach their contract or agreed terms

not being experienced or confident enough to stand up for themselves in the workplace/not knowing their rights (this isn't uncommon, many people do not know the extent of their rights as a worker.)

"what makes an animation wage good or bad?"

this gets a bit trickier bc it is a complex subject that can change based on the project and your personal skills/needs as a worker.

"paid per second"

the "per second" wage is one that's used bc it's very easy for the client to plan their budget with. but it's been debated back-and-forth among workers whether or not it's "fair," especially if the client isn't open to discussion or willing to pay extra for exceptions.

some workers, even though they will agree to work for it, feel this method shouldn't be used bc there are factors it doesn't take into account, while other workers are fine with it.

the limitations of the "per second wage" are:

not every animator works at the same speed

if you're paid $35/second and 1 second takes you an hour to animate then you made $35/hour, but if 1 second takes you 3 hours you made only $11.66/hour, and so on. one might argue an animator simply needs to "improve" in order to make the same "worth" as their peers who work faster--but everyone works differently, and if an animator who works slower is good enough/a more thorough worker, they can still be preferred over a faster one.

it doesn't take revisions/retakes into account*

*this limitation can be remedied if the employer/client includes revision/retake rates or amounts, or is open to discussing extra pay for excessive revisions/retakes. revisions/retakes occur when someone in the pipeline (the lead, the supervisor, etc.) discerns that something was missed or needs to be improved / fixed in an animation. generally one or two small revisions (missing a line, there's a small area that didn't get colored, etc.) are not a big deal and can be fixed quickly. but if there are a multitude of revisions (multiple missing lines/color) or huge revisions (having to re-do an animation completely) that can create a bigger workload for the worker or whichever co-worker their work gets passed to. and you might think "well the error was the worker's fault therefore they shouldn't be paid to fix it" but it's a part of the job. no animator is perfect, and unless you're senior veteran Disney level you're going to get a few notes back. (even the veterans aren't perfect and get notes as well.) not to mention leads might disagree on what is or isn't a necessary fix or adjustment to make on an animation.

it usually is a flat rate that doesn't take complexity into account*

*this limitation can be remedied if the employer/client includes higher rates for more complex shots or is open to discussing a higher per-second rate for more complex shots or additional pay if the job becomes more work than previously thought but, for example, if everyone is being paid a flat $35/second rate no matter what and you get a shot where all you have to animate is a character taking a sip from a glass, but your co-worker has to animate a shot of a character doing crazy parkour, one is going to take longer than the other while getting the same amount of pay. if you complete yours in 2 hours you made $17.50/hour, if your co-worker completes theirs in 5 hours they only made $7.00/hour for a more complex shot.

so overall the "per second issue" has limitations but they can mostly be remedied if a client is open to discussing extra pay/higher rates when the workload exceeds the original agreement.

hourly rates are generally a more "financially secure" option for workers.

however hourly rates can get more expensive and are harder to plan a budget for, since everyone works at different speeds, thus why many clients, especially for productions with limited budgets such as indie, go for the "per second" rate.

job scope

this is where things get difficult to judge bc they vary depending on the production as well as your needs/availability/skills as a worker.

for the sake of example lets compare something that came up in discussion over the screenshot linked at the top of this post: Monkey Wrench's rate VS. Spindlehorse's rate.

breaking down the workload

generally speaking, most shots are only a few seconds. they tend to average around 2-8 seconds, but can be as long as 10+ seconds.

the last rate offered for Monkey Wrench's 3rd episode was $20.38/second, at that rate you could make anywhere from $40.76-$163.04 or $208.30+ per shot of completed roughs or completed clean-up.

at Spindlehorse's rate they chose for Hazbin Hotel's finale episode with A24 & Bento Box of $35/second you could make anywhere from $70.00-$280 or $350 per shot of completed roughs or completed clean-up.

is SH's more than MW in this case? yes. however, there are other factors to consider:

what was the framerate? (12 fps VS. 24 fps, etc.) (((how many frames get displayed per second)))

what were they animated on? (1s, 2s, 3s, 4s, etc.) (((this means how often you make a new drawing, 3s = a new drawing every 3 frames, 1s = a drawing on every frame. at 24 fps that's 24 frames in a second, on 3s that would be 8 drawings on 1s that would be 24 drawings.)))

how detailed are the characters/show style?

how complex is the movement?

how long did you have to complete the animation? (((if you have 1 week to complete an animation you will need to work more hours each day to complete it VS. if you had 2-3 weeks to complete the same one you could work less hours each day, maybe even take one off if you're working efficiently enough.)))

were you asked to take on a bigger workload than you signed on for? and did they offer to pay you the same or more for it?

how many revisions are included in your rate? what's the pay for additional revisions that aren't included in the rate?

was the workplace environment good or bad?

in other words, speaking hypothetically, if you have to animate several frames of detailed characters doing complex movements and you're asked to do more work than you agreed to in a bad work environment, making that $70-$350+ per shot is gonna suck and might cause you stress or even physical/mental harm from burnout that could hinder your ability to continue working...

...to the point that even if you still had to animate several frames of detailed characters doing complex movements, you may prefer to work the job that pays $40.76-$208.30+ per shot if, at the very least, it's a better workplace environment. although you may still choose to do work for the higher-paying job if you really need the money.

we can't make a super clear call on if SH or MW's wages are fair with all of the above factors bc they're either difficult or impossible to know unless we have worked, or hear from people who did work, on the productions themselves. however we *do* know that Adam Neylan claimed the animation for HH's finale episode would be "less intensive" in the screenshot linked at the top of this post, and at least one person who agreed to the offer received shots that were on 1s which *is* more intensive. (link to one other instance of this claim.)

budget / studio size

this topic also gets complicated as an employer/client doesn't typically tell you the exact budget they're working with and where all the money is going.

though they do tend to inform their workers with something like "we're working with a small/limited budget" or "we have plenty of budget" and all you can do is trust that they're being honest. however, indie productions like Lackadaisy and Monkey Wrench have been transparent about where their budget goes. (Lackadaisy budget, Monkey Wrench budget.) So far to my knowledge Spindlehorse has not. (as of making this post on 1/8/2024)

now first and foremost: yes, everyone deserves fair pay regardless of how big or small a client/studio is or how large or limited their budget is.

that being said, sometimes workers are willing to grant exceptions to smaller clients with smaller budgets, especially if they're passionate about the project, they have faith in their employer/client, or are having a hard time finding work and really need the money even if it's not a lot.

the reason many people are upset with the SH screenshot is that, while SH says they offer $60/second normally on Helluva Boss (which while on the better end of per-second rates is still not ideal), they can only offer $35/second, despite the fact they are doing work for A24 / Bento Box, with Bento Box usually offering minimum wages of $22-$42 PER HOUR depending on the job (page 4).

whereas for a much smaller indie project like Monkey Wrench, workers might be more forgiving when most of the money comes straight out of Zeurel's own pocket, as well as the fact that Zeurel does a lot of the animation himself.

and while SH pays much more per second for their indie show compared to Monkey Wrench, SH may have much more money coming in from views & merch sales, they also have much more heavily detailed characters. (in other words an animator might be willing to agree to less pay per second if the characters aren't very detailed or aren't doing a lot of complex movement.) that doesn't mean it's "good" that MW can only afford to pay $20/second, but some workers may be more forgiving given the circumstances.

what if some people are saying they had a good time working on a project while others are saying they didn't?

in relation to everything i've already stated above, the personal experience one has working on a production is equally varied.

generally speaking there are few projects who come out with a fully satisfied crew. there will almost always be at least one worker who had a bad time.

when considering if someone's bad experience is a sign of a bigger issue on a production you have to use your best discretion and accept you may not be able to make a clear call for sure until more information comes out.

sometimes people are telling the full truth of their personal experience, and the workplace *is* bad. other times they're telling the full truth of their personal experience but the factors that caused their bad experience were specific to them/their life, and the place they worked *might* be good for a majority of people.

on the flip side...

use caution when you see the "well *I* had a good time" or "well they were nice to *me*" defense

while numbers can be good (such as if more people are saying good things than bad things) one still has to be wary of confirmation bias as well as why someone might not speak up about a bad experience.

for confirmation bias; someone simply declaring that they had a good time on a production/with a creator insinuating that therefore others couldn't have had a bad time is, simply put, naïve. not to mention disrespectful and ignorant.

example: a group of people can go to the same party where one has a bad time and the rest have a good time. that doesn't mean the party was undeniably good. the party was a different experience for all of them. the host can potentially do something different at the next party to make it better for the one who had a bad time, or that person may decide not go to those parties anymore. if multiple people had a good experience at the party, then sure it's more likely it was "good" by majority, and more people should go--however there could still be an unseen problem such as "the host frequently attempts to get unwilling people drunk," and only a small handful of people have experienced or witnessed it. that's a problem that needs to be fixed, but the majority of party-goers might object to this because they "can't believe it's true, I had such a good time, the host is so nice, & he's never done anything like that to me." yet something bad still happened to a small handful of people and it needs to stop happening.

so, why would someone not speak up if they *did* have a bad experience? here's a few reasons:

they want to move on to other things in their life

they want to avoid getting involved in drama or making a stir even if they had a bad time

they could be afraid speaking up will make it look like they are "taking a side" on something that will cause friction and/or rejection from their peers or friends they don't want to lose

they could be afraid it'll affect their reputation as a worker, or burn bridges with their connections

they could be afraid of the response they'll get from the public (such as being blamed, ignored, invalidated, harassed, etc.)

they signed an NDA and/or are afraid of breaching a contract

should someone accept a low-paying job just for the "good opportunity" alone?

that is completely up to an individual's choice and varies greatly.

personally, i don't believe you should ever *tell* someone to go for something beyond the shadow of a doubt *just* for the opportunity alone, not unless you've taken into consideration the facts of the opportunity *and* the facts of an individual's availability/skills/life situation as well.

sure, "work at Disney" sounds like it's a good opportunity that anyone should take no matter what.

but, if Disney's paying pennies for the opportunity, and an individual isn't ready, doesn't have support, doesn't feel confident about the job or their ability to commit to it, then it isn't a good opportunity for them. you could uproot your entire life for a "good opportunity" only to discover you weren't cut out for it or it didn't lead anywhere. at the end of the day jumping for an opportunity is always a gamble even if it's a gamble that is tilted in your favor.

of course, i also believe sometimes you have to take a risk, sometimes mistakes happen, and you can still learn a lot from "failed opportunities." if it doesn't work out it isn't the end of the world bc you learned more about yourself/the job in the process and you can still pick your life back up. i just don't believe in making uninformed gambles just for the sake of a vague "opportunity," i believe you should consider all the available information before taking a leap.

whether or not something is a "good opportunity" depends on if it's worth it to you and/or you feel confident enough in your availability and skills to do the job even if it isn't going to pay much.

closing remarks

i think that's about all i can say on it, i know it was a lot of information (it's hard to simplify) so thank you truly if you read it all and i hope it was helpful and informative.

the topic of fair pay in animation is an on-going conversation with a lot of opinions and a lot of factors to consider, especially with the rise of interest in indie animation. everyone, including myself, should stay open to this conversation and avoid drawing hard lines in the sand of what is or isn't "fair" unless there is an obvious problem.

personally, due to the claims we've seen over time, i do feel there may be a problem at SH that needs to be reviewed in order for them to be a healthier and ultimately more productive/efficient studio.

i also think it'd be great if indie productions in general could pay more, but the reality is it just isn't there yet, and some animators are willing to deal with it for the sake of their passion or bc they really need the work no matter what.

if you have any questions or confusion about anything i talked about in this post, feel free to shoot me an ask.

ty again for reading.

#industry talk #spindlehorse critical #vivziepop critical #animation industry #indie animation #monkey wrench mention

[yeritheloml]

svt fic recos

all of these fics are 18+. minors please stay out. read at your own risks.

genres: all of there are smut  

fics under the cut

##. seungcheol !!

jealousy - @creamiecoups

cat got your tongue? - @venerex

always better - @venerex

all for you - @gfcheol

What you do best - @hoshgyu

your girlfriend - @venerex (scoups x f!reader, jeonghan x reader)

don’t be bratty - @hotgirlminghao (scoups x f!reader x jeonghan)

##. jeonghan !! 

how to give a blowjob (and other things) for dummies - @multihoe-net​

13:04 - @peachybun-bun​

your girlfriend - @venerex (scoups x f!reader, jeonghan x reader)

angel - @venerex (jeonghan x f!reader, joshua x reader)

don’t be bratty - @hotgirlminghao (scoups x f!reader x jeonghan)

##. joshua !!

movie night - @venerex

this brat - @peachybun-bun

Quiet time - @number1mingyustan

dessert for breakfast - @husbandhoshi​

angel - @venerex (jeonghan x f!reader, joshua x reader)

such a brat - @peachybun-bun (mingyu, joshua x fem!reader)

hush - @peachybun-bun  (mingyu, joshua x fem!reader)

rough day - @peachybun-bun (joshua x fem!reader x vernon)

##. jun !!

a picnic in the woods - @sapphichui

12:42 am - @sapphichui

They’ll See - @trash-hours

and then some - @hotgirlmingyu @hotgirlwonwoo

daddy!jun teasing you with a vibrator in public - @nsfwhao​

Thank You - @peachybun-bun (minghao x fem!reader x jun)

##. hoshi !!

Home;Run - @number1mingyustan 

high-rise - @hotgirlwonwoo

Mirror mirror on the wall - @hotgirlminghao

Tie me up - @hotgirlminghao

sick day - @husbandhoshi

calling him daddy - @jeongwife​

##. wonwoo !! 

the pixie - @fairiewonu

untitled - @berrryshortcake

Cat got your tongue? - @number1mingyustan

look at me - @peachybun-bun

untitled smut 38 & 52 - @wonwoosthetic

jealous wonwoo - @husbandhoshi

Worship you - @heartofasunflower

class project - @smileysuh (frat wonwoo & frat mingyu x fem!reader)

can i buy you a drink - @97-liners (dom!wonwoo x sub!fem!reader x sub!mingyu)

First time - @hotgirlminghao (wonwoo x mingyu x reader)

morning coffee - @gyoobies (mingyu x fem!reader x wonwoo)

##. jihoon !! 

brat - @venerex

needy - @universecorp

possessive!jihoon + studio sex - @jeongwife

sucking him off in the studio - @jeongwife

piercings - @hotgirlminghao

sounds of love - @heartofasunflower​

untitled - @meltwonu​

##. minghao !!

Art - @peachybun-bun

de-stressing you with oral - @nsfwhao

being bratty while he’s working - @jeongwife

not letting him touch you - @jeongwife

cockwarming - @jeongwife​

Thank You - @peachybun-bun (minghao x fem!reader x jun)

Two is better than one - @hotgirlminghao (mingyu x minghao x reader)

##. mingyu !! 

bad boy - @haoluvr

lilac lace - @starlightxsvt

easy to love - @husbandhoshi

its all fun games - @dontflailmenow

eat, baby - @peachybun-bun

Quiet, please - @berrryshortcake

What were you dreaming about? - @hoshgyu

study buddies - @hotgirlwonwoo

take it off - @hotgirlwonwoo

Jealous roommate - @hotgirlminghao​

covering your mouth while he fucks you - @nsfwhao​

jealous fwb!mingyu - @nsfwhao​

class project - @smileysuh (frat wonwoo & frat mingyu x fem!reader)

such a brat - @peachybun-bun (mingyu, joshua x fem!reader)

hush - @peachybun-bun  (mingyu, joshua x fem!reader)

can i buy you a drink - @97-liners (dom!wonwoo x sub!fem!reader x sub!mingyu)

First time - @hotgirlminghao (wonwoo x mingyu x reader)

Two is better than one - @hotgirlminghao (mingyu x minghao x reader)

morning coffee - @gyoobies (mingyu x fem!reader x wonwoo)

##. seokmin !!  

night at the office - @haoluvr

untitled - @onlyseokmins

cold hands, warm heart - @onlyseokmins

late night drives - @dinosbestie

good for you - @peachybun-bun

sugar daddy!seokmin and fingering - @jeongwife​

ceo!seokmin - @jeongwife​

##. seungkwan !! 

stress relief - @hotgirlminghao

mornings with you - @hotgirlminghao

kitchen sex - @boos3ungkwan 

silent library - @multienthusiast

##. vernon !!

dirty reflection - @hotgirlwonwoo

goodnight n go - @hotgirlvernon

something new - @hotgirlminghao

distracting you from studying - @nsfwhao​

rough day - @peachybun-bun (joshua x fem!reader x vernon)

mutually exclusive (mini-series)

part one

part two

part three

part four

part five

##. dino !!

dreams do come true - @idyllic-ghost  

dreams do come true: the aftermath (fluff) - @idyllic-ghost

beach day - @jeongwife

wicked games - @hotgirlmingyu

bitchless - @milfgyuu​

Series (OT13)

no nut november - @hotgirlmingyu, @hotgirlwonwoo, @hotgirlminghao​ & @hotgirlvernon​

when a stupid bet goes way farther than it should 

prologue

part one (mingyu)

part two (vernon)

part three (wonwoo)

part four (minghao)

epilogue 

SUGAR SPICE AND EVERYTHING NICE | 95 line sugar daddy au - @starlightxsvt

lover (seungcheol)

playboy (jeonghan)

gentleman (joshua)

SVTHUB 

hyung line masterlist

maknae line masterlist

enjoy reading besties!

#svt #svt x reader #seventeen #svt smut #seventeen smut #seungcheol x reader #scoups smut #seungcheol #jeonghan #jeonghan x reader #jeonghan smut #hong joshua #joshua x reader #joshua smut #junhui #junhui x reader #junhui smut #hoshi #soonyoung #hoshi x reader #soonyoung x reader #soonyoung smut #hoshi smut #wonwoo #wonwoo x reader #wonwoo smut #woozi #jihoon #woozi x reader #jihoon x reader

[a-door-to-somewhere]

Ok watched spiderverse 2 again here's some thoughts in no particular order (spoilers and long post ahead):

- peter b is reading a book called "how to talk to kids" at the very end. Presumably because may can't speak yet and Gwen and Miles were zapped away I choose to believe he was reading this so he can go talk to Miguel LMAO

- I fucken love the way spot, after he powers up, move around via just like... sliding around in the air basically with his bad posture like he's hung from strings like a puppet

- when gwen is drumming at the opening and when spot gets zapped both are intercut with frames from later in the movie and also later in the future. I'm guessing spot got a glimpse of canon events but when Gwen was doing her intro it was phrased like a retrospective- but unlike most intros it didn't have a shot of a new spiderman comic being thrown on the pile. So when was she doing this retrospective? I hc she'll pick back up at the end of the third movie

- someone needs to make procreate brush packs for each universe/character PLEASE

- ok the "watercolor" effect being a mood ring is incredible but I havent seen anyone talking about the sort of abstract animation?? It almost reminds me of like experimental film from the impressionist/dada/supremetism eras, you can see it synced to the drum in the intro and also in some of the backgrounds during her big speech

- also during the Guggemheim fight when the Renaissance Vulture was like "you call this art?" And Gwen was like "well we're talking about it aren't we" YOU'RE SO RIGHT GWEN I AM KISSING YOU ON THE LIPS

- the shaky 1st pov cam when Gwen's dad sneaks up on her both times reminded me of when Miles accidentally watched kingpin kill perfect Peter? Idk if it was exactly the same I'd have to go back and rewatch but UGH it really gets that Gwen's dad has two sides too and the cop side isn't really human almost, lurking in the shadows, silhouetted

- also Gwen's dad just being a shit cop, giving her mixed instructions, raising a weapon at an unarmed person who is trying to communicate, firing warning shots, yelling the Miranda rights over her which is not how its supposed to be given

- contrast that with Jeff who literally never pointed a weapon at anyone and went charging after spot with his bare hands, is casual with his spiderman. I mean even when Jeff was talking about Miles not capturing Spot correctly it was lighthearted and joking, he's actively not going by the book, he's keeping the squad off of Spiderman's back, he apparently talks to spiderman about his family troubles???

- have I mentioned I LOVE MUSICAL MOTIFS????? Seriously they’re always good (fuck Wagner everyone knows Toby Fox invented the leitmotif) I mean everyone noticed the horror style Prowler stinger but even more characters got some: Gwen got a Little Rock theme with a guitar lick that echoes the ‘spi-der-man, spi-der-man’ song, Miguel’s distorted synth whine, the interesting mouth and bells percussion that Pav gets (good job Hollywood avoiding the exotic Asian pentatonic lick for once), at the end when the 42 prowler reveal slowly changed the prowler stinger into a human scream???? There’s probably more but I’d have to go back and watch it again again lmao

- I really love how Miguel is kinda goofy. He’s aloof and over serious but he makes mistakes and shows other emotions despite his best efforts. His flaws are shown off in his very first interaction, with his unwillingness to ask for help despite the fact that he knows he needs it. He’s frustrated. He’s got group object leader energy. It makes it so much more lovable that he’s susceptible to quips and he also gets knocked down and messes up and shows up and has his quirks that everyone puts up with. THATS how you make an interesting, relatable, lovable antagonist. Perhaps it worked too well LMAO

- I am an Oscar isaac simp I gotta go rewatch moon knight

- when miles was swinging around with gwen he passed a truck called "redex" bc gwen rejected him lmao

- theres an 8 clearly visible in the background of earth 42? Wacc

- the Spread Your Wings, Man scene focusing on the plastic wrap on top of the Alchemax flowing in the wind like it’s an ocean?/??? I really hope they call back to that imagery later because it clearly means something and I need to know what

- I’ve got an inkling of something that specifically revealing one’s spider-dentity to a loved one is some kind of anti-canon event, like maybe it’s the thing that fixes the destabilization? I mean we’ve seen that it’s ok if loved ones figure it out themselves (or if they then die, like uncle Aaron) like it’s a clear theme that miles keeps trying to tell his parents, and then Gwen tells her dad, which causes him to quit the force, thereby averting the canon event of him dying indirectly??? Also, it’s implied that the MJ of 1610 sold out Perfect Peter Parker to Fisk, leading to his death, ALSO also, gayatri probably figured out Pav’s identity right before HIS world destabilized??? Idk lmao

- I hope spiderbite/Margo and Jess get proper intros I can’t wait

- the background spider hockey girl has my heart, I couldn’t stop looking at her during the chase scene

- God I need to watch moon knight again

- when mj moved into mays room to greet them she lifted a picture frame back up as she moved in the door? What's up with that???

- not Spanish originally starting as a too-relatable joke that Miles gets a B in despite his mother speaking Spanish at home as well, not living up to his expectations, and then 42!Miles presumably speaks more/better Spanish due to being closer to his mom because his dad died???

- not miles aceing ap physics and ap studio AT THE SAME TIME in his SOPHOMORE YEAR free my boy from grounding he’s done nothing wrong

- btsv’s main villain is gonna be the sat I’m telling you

- most importantly: what was up with the Comic Code Authority’s seal being shown after the studio logos at the beginning??

Did that happen in the first one??? Why would it be there??? The cca has obviously been defunct since before superhero movies were really a thing. Famously, the cca seriously censored a ton of content, causing Marvel to be unable to portray darker stories involving drugs and other more mature themes, which they wanted to do with many superheroes including Spidey??? Is the Spider Society secretly the cca, censoring storylines that they think shouldn’t be portrayed, including darker timelines like 42? There was also issues with the convoluted Spider-Man comic lines going through unsatisfying ‘resets’ to keep Spider-Man relatable, without evolving the character into anything too far away from the OG Spider-Man, ie young, relationship issues with MJ, nerdy, tragedies etc. this is the detail that had me wondering the most because it was so clearly displayed right at the beginning, and the cca was generally a shameful part of comic book history in which publishers submitted to satanic moral panic. Like, not really something that reads as a cute little callback to an era of comics like he use of Ben day dots or misaligned printing or the onomatopoeias??

#across the universe #spiderman atsv #across the spider verse spoilers #spiderman across the spiderverse #spiderman into the spiderverse #spiderman #into the spider verse #spider verse #into the spiderverse #spoilers #across the spiderverse #miles morales #gwen stacy #gwen stacy atsv #jeff davis #rio morales #peter parker #peter b parker #baby mayday #may parker #mayday parker #Jess atsv #miguel o'hara #miguel spiderverse #spider gwen #spider woman #hobie spiderverse #hobie brown #spider punk #pavitr prabhakar

[gsmess]

“Close Up” 42 x 60 inches. A work in progress. This painting should be available soon. It’s about 90% completed.

#oil #oilpaintings #painting #paintings #horses

#equestrian #horsebackriding #horseart #equineart #horse #equine #art #artist #artwork #contemporaryart #animals #oiloncanvas #studio #showhorse

https://www.equineartiststevemessenger.com

#horses #equestrian #artist #art #equine #horse #animals #paintings #painting #oilpainting

[max-uhhhh-talks]

Throwing ghoul OC info into the void

(Art for OC can be found here)

☆ Earth + Quintessence ghoul

☆ Summoned in 1972 by Papa Emeritus I, who was 42 at the time. His "personal" ghoul, serves and assists him (they're also in love but shhh they've never actually admitted it)

☆ Love strawberries, they're pretty and cute. Wears strawberry and mushroom accessories + clothes

☆ No mouth, unable to speak verbally except for the words "uh-huh, oh, huh", general noises. Communicates through telepathy and hand gestures, makes squeak sounds when surprised and such. Body language is a huge thing for her

☆ Unable to eat or drink, which is generally okay since ghouls don't require those to live. Ghouls mainly depend on energy, the more ghouls in a room, the better to keep them feeling in good shape. As such, starlight relies on the energy given off by her fellow ghouls, so she spends most of her time with at least one ghoul. While eating isn't mandatory, it certainly does help out a lot with providing energy. So naturally, Starlight doesn't have nearly as much energy as everyone else does

- also why she's never been a band ghoul, paired with her fear of large crowds (and that she's rarely ever left the ministry, she did for primo's touring and that was it). She can play instruments, but too many factors that keep her from being as active as a job like that requires

☆ She has magic, one would think she has twice as much as any ghoul, being a mix of two elements, but no. She can't use it, as it drains a fair amount of energy (for the average ghoul). But her being her, it leaves her incredibly drained. She can't use it unless she wants a day or two of immense exhaustion and recovery (the early days of summoning for the Clergy were, not as great as they are today)

☆ Reciprocates for the gifts given to her by the land, she's part earth, so she's quite in tune and respectful towards the earth. She always asks permission (in her own ways, not verbally ofc) before picking plants and such, and listens to the earth. She understands how the earth takes care of her and those she loves, and in turn, she takes care of the earth. Working in the gardens, taking care of the animals in the surrounding forests of the ministry, etc

☆ Love rubix cubes. She fidgets with her hands a lot, so she always has one of those mini rubix cubes with her

☆ As I mentioned, she can play a fair amount of instruments. In fact, she's even helped with studio recording processes in the past! She's even learned each instrument by ear, reason which brings me to my next fact

☆ Starlight can't read or write, not English at least. She was summoned just to serve and protect Primo, so reading wasn't exactly in the job description. She does understand English, though there's a fair amount of things she doesn't understand, specifically slang. Slang confuses her to no end, it's like a whole new language to her. English was hard enough for her to learn

#☆max is ghosting✩ #☆max rambles☆ #starlight oc #ghoul oc #ghost bc #ghost hcs #nameless ghouls #primo #hes mentioned #starlight lore #oc lore #starlight ghoul

[studio42artworks]

L8003

#studio 42 Art Works #Photography. #photographer #Forests #Trail

[fashionbooksmilano]

Mega VI Eva Jiricna Designs

Introduction Joseph Ettedgui

Staring at the Window John Thackara, Conversation with Alvin Boyarsky

Architectural Association, London 1987, 44 pages, paperback, 27.69 x34.54 cm, ISBN 978-0904503845

euro 60,00

email if you want to buy [email protected]

Czech-born architect Eva Jiricna provides the architectural setting for some of the most stylist fashion outlets in London, Paris, Germany and the US. "Mega VI "features 12 of her London schemes. A fully illustrated interview tells the story of her background in Czechoslovakia and the impact on her work of the architectural scene she discovered on moving to London after the Soviet invasion of Prague in 1968.

Eva Jiricna Architects is an architectural and design practice based in London with an international portfolio of residential, commercial and retail interiors; furniture, products and exhibitions; private and public buildings. The practice is at the forefront of innovation in form and technology, with highly crafted and detailed designs employing classic materials – glass, steel and stone – in a thoroughly modern language. The work aspires to the harmony of architecture and engineering, owing much to Eva’s original training in chemistry and mathematics. As a multi-disciplinary practice, EJA provides a comprehensive service including the design of new buildings and public spaces as well as detailed interiors, products and furniture. The practice has won numerous international design awards and its work is regularly published in magazines, books and periodicals. Its clients include major corporate and public organisations such as Amec plc, the Jubilee Line Extension, Andersen Consulting, Boodles Jewellers, Royal Academy of Arts, Selfridges, Harrods, Victoria and Albert Museum. EJA has a strong collaborative track record, working closely with clients and other members of the design team, including engineers, landscape architects, cost consultants and urban designers. EJA is run by its founder, Eva Jiricna, a Czech born architect who has been based in London for over 42 years. The London office operates concurrently with the studio A.I Design s.r.o. in Prague. Jiricna’s long career began with a job at the Greater London Council on her arrival in the UK in 1968, followed by the Louis de Soissons Partnership (she was made Associate Architect) working on Brighton Marina for 10 years, and subsequently Richard Rogers

19/07/23

orders to:     [email protected]

ordini a:        [email protected]

twitter:@fashionbooksmi

instagram:         fashionbooksmilano

                         designbooksmilano

tumblr:               fashionbooksmilano

                         designbooksmilano

#Eva Jiricna #architecture exhibition catalogue #Architectural Association London 1987 #modern architecture #Interior Architecture #fashion shops #Joe's Café #Kenzo shop #Joseph Tricot shops #MC #design books #designbooksmilano #fashionbooksmilano

[mysteryman-17]

* I miss that old life, darlin'. * The glitz and glamour, the fame and fortune! * The... birdbrain I used to feud with. * And your death is JUST THE TICKET to getting that back. * So ready or not... * LIGHTS. CAMERA. * ACTION!!

Time’s End is an AHIT/Undertale crossover AU of sorts, taking place in the aftermath of a timeline where you lose the final boss fight against Mustache Girl. You can find the write-up here! In addition, you can find the write-ups for the Neutral Endings and TimeWarp Route Requirements on Google Drive! The incredible art in the thumbnail + DJ Grooves’ new design were both done by @bittybattybunny. She's an incredible artist, be sure to check out their work here on Tumblr and over on Twitter!! Also, this track was commissioned from the insanely talented musician Nahg (also on Twitter.) Be sure to check out his work, he did a fantastic job, especially given the equipment he had to work with!

Motifs:

The Big Parade

Picture Perfect (B-Side Remix)

Battle of Award 42

You can also listen to this track in high quality on the AU’s SoundCloud here! The rest of the description (including the character blurb) is underneath the Read More.

DJ Grooves takes the role of Papyrus. Even in spite of his forced exile from Dead Bird Studios, he seems to have a very happy life in the Alpine Skyline... at first. But as the story progresses, Bow Kid notices more and more strange breadcrumbs (Hat Kid's up-and-down friendship with him being only one of em,) and by the time Bow reaches the end of Alpine Skyline, Grooves fully lets the cat out of the bag. He's been biding his time for years, waiting for an opportunity to attempt seizing Mustache Girl's Time Pieces, and he's realized... killing Bow Kid would give him just such an opportunity.

HAPPY (belated) NEW YEAR Y'ALL, BET YOU WEREN'T EXPECTING THIS HUH? Anyhow, the first of several tracks in what I'll call a "commission backlog" (for simplicity's sake) has finally come to fruition: the Bonetrousle for the AU! I ALWAYS wanted to completely and utterly wreck the formula with this pair of tracks from the moment I cooked up Time's End, but I wasn't entirely sure of HOW for the longest time (even to the point of me attempting to start... and even scrapping one or two shit ideas.) It was only relatively recently that I realized "hey. LEAN INTO THE DISCO VIBE THAT GROOVES HAS, DUMBASS! also fuckin uhhhh spend some kromer and support an awesome musician to boot." And Nahg did a FANTASTIC job bringing this life; we'd be here all day if I tried to go in depth bout what I like, but just for a small thing, the fakeout at the very start with the Nyeh was a very nice touch on his part. Y'all should DEFO commission him if you get the opportunity to, he was awesome to work with and it's more than worth it! Without further ado tho, I hope you all enjoy! (P.S. It'll take some time for me to put everything together, but I figured that I'd let you guys in on what the "proper" 100 follower special for the AU SoundCloud is going to be: a release of MIDIs and applicable FLPs of tracks that have been done for the AU, both by other people and myself. Am working on other projects in between my short off time from work, but I'll keep y'all posted on this!)

#a hat in time au #ahit au #ahit dj grooves #dj grooves #deltarune #undertale #undertale au #ahit time's end au #time's end au #AHIT:TE!AU #a hat in time music #ahit music #music #audio #Bonetrousle

[orcaoceanking]

Main Characters:

⭐Shing (Neo) Yu

Asian. Half Chinese half Vietnamese. Male. Age:15 Height: 5'8 eyes:brown. hair:black birthday: July 16th.

Mild autism. Speech impediment stutters. Hard headed, gets mad and frustrated easily. Serious overprotective type of guy. Only let's his guard down with his close friends.

Struggles with academics. Has a scar above his eyebrow

Interests: wrestling, martial arts. Video games.

Parents

🌀Father: Guan Yu

Age: 40 height: 5'9

Strict father.

Martial arts teacher. Owns a training studio for his students. Wants his son to be the best. Named his son Neo from the matrix

🌀Mother :Kieu Vu

Age: 36 height: 5'2

Carefree loving mother. Owns a hair salon. Loves her children

⭐ Lisa (neos younger sister)

Age: 12 height: 4'5 eyes: hazel

Birthday: January 29

Interests: singing, dancing, cut fashion. Has a crush on Neo's close friend Raphael but he only sees her like a little sister. She likes to hang around the guys

⭐ Raphael (Raph) Johnson

Age 15 African American half Russian.

Height: 5'6 age:15 eyes:brown

Has a hard relationship with his father. Only child. His mother (Dariya) died when he was 10 in a shooting. She saved his life and he hid under her body. Remembers it everyday.

Interests: playing music. Guitar. Wants to be in a band. Likes to play songs with Neo's sister who likes to sing. Average grades.

🌀 Darrel Johnson

Age: 40. African American. Height: 6'1

Police officer. Strict on his son and enforces the laws. Single father. Wants his son to be successful and go to college and not focus on music as a career. Has a beef with Neo's dad Guan. They use to fight each other when they were teenagers over a girl Darrel's wife who died.

⭐Adrien Bartkowski

Height 6'1 age:15. Caucasian. polish.

Eyes: blue. Hair: curly brown.

The youngest child of 2 older sisters in college. They treat him like a little kid and spoil him. Very smart and intelligent. Academic scholar strives for success. Helps the guys with homework and even helps them cheat on test. Is a smooth talker. Very mature for his age. Level headed the leader of the group but also lacks the strength and energy. Lives with his father.

°Mary (20) goes to a nearby university studying Forensics.

°Ashley (23) lives in New York city works as a waitress lives with her boyfriend Tyler (25) who is a Store manager. She study to be nurse. Only comes visit family on the holidays.

Parents

Father

🌀Mandek Bartkowski

Age:45 height: 5'11

Works as a construction worker. Is good friends with Darrel they see each other and talk on lunch breaks.

Mandek likes to watch sports and TV. They get together with other guys on night out at bars and drink together.

Easy going father but also gets drunk a lot. Divorced from his wife Amelia.

🌀 Amelia

Age: 43 height: 5'7

Divorced her husband because he drinks too much they divorced 5 years ago. She lives in New Jersey close to Ashley. Works an office job. Lives alone with 2 cats and plants.

Other characters

Coach Charleston :

Neos wrestling coach gets on his ass about his grades and pushing him to reach state championship. Has a secret sexual relationship with a senior student.

Mr. Kline

Math teacher who doesn't care if his students cheat on their tests. Talks about how the education system is flawed and thinks it's better to work together then against each other and compete.

Principle Walker

African American. Age 42

Went to highschool with Darrel and Guan. Older than Guan and was on the wrestling team had a big rivalry.

Is a smart mouth talker. Finds any reason for Neo to get in trouble to have a talk with his dad and hurt his chances to compete.

Officer Chester

Age: 41 height 5'10

Darrel's police partner in crime. Often. Shows up at the school for anything. Gives Raph and the boys a ride sometimes. Taught them how to shoot a gun.

Otis:

Height: 5'9 eyes: green hair: black Neo's rival and enemy. Also trains with Neo's father on his off season in the summer time. Wants to prove he's better than Neo. Always gets under his skin. A player who flirts around with all the girls.

Mrs. Parry

Science teacher very passionate about her job tries to give the best advice she can to her students. Her husband Tyler Parry is a bartender at the local bar down the street from school. Their son Alex (12)

has a crush on Lisa

Alex Parry

Age:12 height:4'7 eyes: brown hair:brown

A trouble maker

Christina Tao

Height: 5'4

Female student having relationship with coach Charleston. A good person but also confused on what she wants to do in life. Doesn't really talk much to other people .

Tiffany Jenkins

Age: 15 Height 5'7 eyes: blue hair:red.

A ginger girl in competition with Adrien to be student council class president. A try to be know it all. Very sassy. Her two friends Jenny and Allison follow her to be class Queen.

[usagirotten]

Pink Floyd’s ‘The Dark Side Of The Moon’ Is Getting A 50th Anniversary Box Set

50 years ago today, Pink Floyd walked out of Abbey Road studios, satisfied with their 8 months' worth of work. One of the most iconic and influential albums ever, Pink Floyd’s The Dark Side Of The Moon celebrates its 50th Anniversary.  The album was partly developed during live performances, and the band premiered an early version of the suite at London’s Rainbow Theatre several months before recording began. ‘The Dark Side Of The Moon’ is the eighth studio album by Pink Floyd, originally released in March 1973. The new material was recorded in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London. The iconic sleeve, which depicts a prism spectrum, was designed by Storm Thorgerson of Hipgnosis and drawn by George Hardie. ‘The Dark Side Of The Moon’ has sold over 50 million copies worldwide. A new deluxe box set has been created to include CD and gatefold vinyl of the newly remastered studio album and Blu-Ray + DVD audio featuring the original 5.1 mix and remastered stereo versions. The set also includes an additional new Blu-ray disc of Atmos mix plus CD and LP of ‘The Dark Side Of The Moon – Live At Wembley Empire Pool, London, 1974’. Simultaneously, on 24th March, the CD and first ever vinyl issue of Pink Floyd’s ‘The Dark Side Of The Moon – Live At Wembley Empire Pool, London, 1974’ will be released independently. It was originally recorded in November 1974 as part of the band’s winter tour and this is the first time it will be available as a stand-alone album, with artwork featuring an original 1973 line-drawn cover by George Hardie. The book Pink Floyd – The Dark Side Of The Moon: 50th Anniversary, part of the deluxe box offering, will also be published separately by Thames & Hudson on March 24, 2023, to coincide with the box set release. Curated by photographer Jill Furmanovsky and art directed by Hipgnosis co-founder Aubrey Powell, this LP-sized volume showcases rare and previously unseen photographs taken during The Dark Side Of The Moon tours of 1972-1975 and was created with the involvement of the band members. In celebration of the 50th Anniversary release, Pink Floyd also invite a new generation of animators to enter a competition to create music videos for any of the 10 songs on the iconic 1973 album. Pink Floyd has a rich history of collaborating with animators from the beginning of the band (Ian Emes, Gerald Scarfe, etc.), and in some cases, the visuals that accompany the songs have become synonymous with the music itself. The 50th Anniversary will be no exception. The band would like to give all animators an opportunity to present a fresh take on these timeless aural works. Animators can enter up to 10 videos, one per song on the album. A winner will be selected from a panel of experts which will include Pink Floyd’s Nick Mason, Aubrey ‘Po’ Powell (Pink Floyd’s creative director), and the BFI (British Film Institute). The deadline for submissions is November 30th 2023. On February 27th, 1973, EMI Records held a press conference for the debut presentation of Pink Floyd’s new album The Dark Side Of The Moon at the London Planetarium. Although the Planetarium dome could only show an array of stars, constellations and images of the cosmos whilst the music played, it was an unprecedented success. Fifty years on, in recognition of the iconic album and with the help of huge strides in technology, an official full dome experience with stunning visuals of the solar system and beyond and played out to 42 minutes of The Dark Side Of The Moon, will be released in Planetariums around the world in March. Contact your local Planetarium for any screening details. The show itself will be divided between the 10 tracks off the album, in chronological order, each having a different theme; some futuristically looking forward and some a retro acknowledgment to Pink Floyd’s visual history, all relating to a time and space experience, embracing up to the minute technology that only a Planetarium can offer. It promises to be immersive; an all-encompassing surround sound and visual treat that will transcend reality and take you way beyond the realms of 2D experience. THE DARK SIDE OF THE MOON Speak To Me Breathe (In The Air) On The Run Time The Great Gig In The Sky Money Us And Them Any Colour You Like Brain Damage Eclipse Produced by Pink Floyd The Deluxe Box Set includes: CD1 – THE DARK SIDE OF THE MOON (50th Anniversary) Remastered by James Guthrie in gatefold sleeve with 12-page booklet CD2 – THE DARK SIDE OF THE MOON LIVE AT WEMBLEY EMPIRE POOL, LONDON, 1974 Mixed by Andy Jackson in gatefold sleeve with 12-page booklet. Cover design by Aubrey Powell/Hipgnosis and Peter Curzon/StormStudios. Original 1973 line drawn cover artwork by George Hardie LP1 – THE DARK SIDE OF THE MOON (50th Anniversary) Remastered original studio album 180g heavyweight vinyl, in gatefold sleeve, with original posters and stickers LP2 – THE DARK SIDE OF THE MOON LIVE AT WEMBLEY EMPIRE POOL, LONDON, 1974 180g heavyweight vinyl, in gatefold, with 2 posters featuring design by Ian Emes and Gerald Scarfe. Cover design by Aubrey Powell/Hipgnosis and Peter Curzon/StormStudios. Original 1973 line drawn cover artwork by George Hardie BLU-RAY 1 (AUDIO) Original album 5.1 and high-resolution remastered stereo mixes, 1. 5.1 Surround Mix – 24bit/96kHz Uncompressed 2. Stereo Mix – 24bit/192kHz Uncompressed 3. 5.1 Surround Mix – dts-HD MA 4. Stereo Mix – dts-HD MA BLU-RAY 2 (AUDIO) Original newly remastered album Atmos and high-resolution stereo mixes, 1. Dolby Atmos Mix 2. Stereo Mix – 24-bit/192kHz Uncompressed 3. Stereo Mix – dts-HD MA DVD (AUDIO) Original album 5.1 and remastered stereo mixes, 1. 5.1 Surround Mix – Dolby Digital @448 kbps 2. 5.1 Surround Mix – Dolby Digital @640 kbps 3. Stereo Mix (LPCM) – 24-bit/48 kHz Uncompressed 160-PAGE THAMES & HUDSON HARDCOVER BOOK with rare black and white photographs from the 1972 – 1975 tours of the UK and the USA taken by Jill Furmanovsky, Peter Christopherson, Aubrey Powell, Storm Thorgerson 76-PAGE MUSIC BOOK Complete songbook of the original album REPLICAS OF 2×7″ SINGLES 7″ Single 1 Money/Any Colour You Like 7″ Single 2 Us And Them/Time REPLICA OF PAMPHLET AND INVITATION TO THE PREVIEW OF THE DARK SIDE OF THE MOON AT THE LONDON PLANETARIUM ON 27TH FEBRUARY 1973 Studio album recorded at Abbey Road Studios, London, between May 1972 and January 1973. Produced by Pink Floyd. Engineer Alan Parsons. Assistant Peter James. Mixing supervised by Chris Thomas. Remastered by James Guthrie and Joel Plante at das boot recording. 5.1 and Atmos mixes by James Guthrie. Live At Wembley Empire Pool, London, 1974 recorded at the Empire Pool, Wembley, London, November 1974 Engineers: Brian Humphries with Phill Brown. Audio Mixing by Andy Jackson, assisted by Damon Iddins. Mastered by Andy Jackson at Tube Mastering. Creative Director 2023: Aubrey Powell/Hipgnosis Design and Art Direction: Peter Curzon/StormStudios 50th Anniversary Concept and Design: Pentagram   Read the full article

#AbbeyRoadStudios #music #pinkfloyd

[anysquared]

Dear Friends of AnySquared,

Some of you are friends we’ve featured in exhibitions, some we’ve met at events or studio days, and some we’ve collaborated with on your projects – many are friends from the community. You are why we exist and your support is essential for us to continue our work. This December marks our year anniversary of formalizing AnySquared as a nonprofit 501c3!  We are grateful to our board of directors for doing the work to make this happen–the board is made up of six dynamic individuals who are involved in community-based organizations and arts related projects. As a nonprofit, we can create new networks of support for Chicago artists and generate compelling and meaningful programming that gives artists a chance to leverage their art to organize for the greater community good. Please scroll through to see what AnySquared has been doing this year!

Artists from all over the city attend AnySquared’s weekly Wednesday Studio Days. Participants tell us that there is no other art day like ours in the City of Chicago. We provide free supplies while offering the studio space and encouraging creativity and collaboration. In 2022 we were excited to be open all year and hosted 50 Studio Days with 20–30 mostly young artists attending each week! instagram post 1 | instagram post 2 | instagram post 3

Art community events like AnySquared Art Swap Meet last February are reaching bigger audiences and more artists citywide. Over 250+ people attended the Art Swap that featured 110 artists swapping art. Block Club Article announcing Art Swap | instagram post | facebook artists album

Life & Love in Covid Times opened in March as our 1st exhibit for Art at Coles since the pandemic! Featuring 50+ artists including some we have never worked with before, it was a great way to connect in addition to Studio days. We also hosted 2 other Art at Coles later this year that hightlighted 3-4 artists each in these exhibits: Art at Coles #42 and Off the Streets! We hosted 30 art talks to check out on YouTube through March of 2022, See the fantastic lineup of artists of all experiences! AnySquared Spotlight Art Talk Series

Looking to the future as a nonprofit: Our amazing Visioning Session in June gave the whole of the AnySquared network a platform to workshop and voice ideas about the direction of our organization as a nonprofit. We continue to roll out different aspects discussed including implementing monthly meetings, opening the studio additional days, initiating the planning for the Belmont Cragin Community Mural, and creating more avenues for more artists participation in programming and proposing projects. Thank you to Studio Gang for the rooftop space! facebook video We continue to partner with Chicago artists, projects, and organizations in the community.

The annual Against Da Fence mini-art-festival is our biggest collaboration of the year and is a testimony to cooperation with Renegades of Funk and our combined communities at Project Logan. 500+ people in the community came through to see art on the fence, painting on the wall, art vending and demonstration by 75+ artists as well as participate in our art-making activity. See 2022 Facebook album with extra photos!

This year we were proud to be recruited to collaborate on two projects with Palenque LSNA — an excellent community organization that fights for affordable housing, immigration rights, and better schools. Our team created a beautiful mural banner to be carried at Palenquefest. We also organized arts programming at the May festival including artmaking for families, an artist showcase, a “here to stay” community banner painting activity, and more than a half dozen live artists. It was a true collaboration of art plus community on a rainy, but fun day!

Palenque LSNA also asked us to create community alter that honors those killed by gun violence in 2022 for the Viva La Vida: Day of the Dead event at Comfort Station in late October. Our lead artist was Cesar Luna who designed and created the beautiful ofrenda for Dia De los Muertos.

Once again we collaborated with Unity Park for Art in the Park and provided volunteers, organized the painting activities of the day, and completed the “making space for each other” banner mural painted by the community and designed by Helen Sanchez-Cortes who was also the lead organizer. It was a beautiful day of art + community.

We continue to supported up-and-coming spaces and emerging artists with our collaboration with Studio Nez for the Breakfast Show exhibit. It was great to partner with Casa Hernandez’s Nick Hernandez who donated their space for the Passions Skateboard Art Show curated by Cesar Luna! The space usually hosts Humboldt Park Solidarity Network‘s free store thanks to Nick and community members! This year we also sponsored a pilot Arts Administration Internship Program and plan to create and fund more mentorship opportunities and skills workshops in 2023. For next year we hope to create paid intern positions for communications manager and art studio manager. Internships help develop real world skills for young people interested in arts administration but we need your support to make these positions a reality.

Throughout the year we continued to amplify our fellow artists and collaborators in our wider network through 100s of social media stories and posts in the Milwaukee Avenue Arts News.

While we currently remain in our AnySquared Studio space, and are beginning the process of investigating the possibility of spaces – but we understand we need to build out our fundraising capacity. We will see rising operations costs in 2023 and have already experienced a rise in costs for art materials. We have traditionally raised money through our own efforts and in 2023 plan to make a push to seek out monthly sustainers and grants which will help us to expand our programming and provide more consistent stipends for interns and artists.

Will you join in supporting AnySquared by making a year-end donation? Help AnySquared in changing circumstances! Please consider making a generous tax-deductible donation to AnySquared. You can also become a Monthly Sustainer at $10, $20, $50, or $100 to help Anysquared move towards attaining important financial sustainability. As a monthly sustainer you help make sure we continue to do the great work we have been doing in Chicago!

Donate through Square OR PayPal. We also accept CashApp ($anysquared). Checks can be mailed to: AnySquared, 2328 N. Milwaukee, Floor 2, Chicago, IL  60647.

That's a Wrap for 2022! Next year will be AnySquared’s 13th Anniversary. We are excited about planning new projects in the new year. Look for our website update with artists' directory too!

Wishing you art plus community. Thank you for your support!

___ AnySquared.com @ne2_gallerysquared [email protected] News & Events  |  YouTube Find AnySquared on Facebook, TikTok, Twitter Supporting and nurturing artists and creating community for more than a dozen years, AnySquared is an artists collaborative and artists network. AnySquared's mission is to support, produce and promote collaborative projects that facilitate arts activities through inclusive participation.